Recollections of Dante Gabriel Rossetti Part 14

I could not be much concerned about the unwillingness to give me a new sonnet which Rossetti at first exhibited, for I knew full well that sooner or later the sonnet would come. Not that I recognised in him the faintest scintillation of the affectation so common among authors as to the publication of work. But the fear of any appearance of collusion between himself and his critics was, as he said, a bugbear that constantly haunted him. Owing to this, a stranger often stood a better chance of securing his ready and open co-operation than the most intimate of friends. I frequently yielded to his desire that in anything that I might write his name should not be mentioned--too frequently by far, to my infinite vexation at the time, and now to my deep and ineradicable regret. The sonnet-book out of which arose much of the correspondence printed in this chapter, contains in its preface and notes hardly an allusion to him, and yet he was, in my judgment, out of all reach and sight, the greatest sonnet-writer of his time. The sonnet first sent was _Pride of Youth_, but as this formed part of _The House of Life_ series, it was withdrawn, and _Raleigh's Cell in the Tower_ was subst.i.tuted The following hitherto unpublished sonnet was also contributed but withdrawn at the last moment, because of its being out of harmony with the sonnets selected to accompany it:

ON CERTAIN ELIZABETHAN REVIVALS.

O ruff-embastioned vast Elizabeth, Bush to these bushel-bellied casks of wine, Home-growth, 'tis true, but rank as turpentine,-- What would we with such skittle-plays at death % Say, must we watch these brawlers' brandished lathe, Or to their reeking wit our ears incline, Because all Castaly flowed crystalline In gentle Shakspeare's modulated breath!

What! must our drama with the rat-pit vie, Nor the scene close while one is left to kill!

Shall this be poetry % And thou--thou--man Of blood, thou cannibalic Caliban, What shall be said to thee?--a poet?--Fie!

"An honourable murderer, if you will"

I mentioned to you [he says] William Davies, author of _Songs of a Wayfarer_ (by the bye, another man has since adopted his t.i.tle). He has many excellent sonnets, and is a valued friend of mine. I shall send you, on his behalf, a copy of the book for selection of what you may please.... It is very unequal, but the best truly excellent. The sonnets are numerous, and some good, though the best work in the book is not among them. There are two poems--_The Garden_, and another called, I think, _On a dried-up Spring_, which are worthy of the most fastidious collections. Many of the poems are unnamed, and the whole has too much of a Herrick air. . . .

It is quite refres.h.i.+ng to find you so pleased with my good friend Davies's book, and I wish he were in London, as I would have shown him what you say, which I know would have given him pleasure. He is a man who suffers much from moods of depression, in spite of his philosophic nature. I have marked fifty pieces of different kinds throughout his book, and of these twenty-nine are sonnets. Had those fifty been alone printed, Davies would now be remembered and not forgotten: but all poets now-a-days are redundant except Tennyson. ...

I am this evening writing to Davies, who is in Rome, and could not resist enclosing what you say, with so much experimental appreciativeness of his book, and of his intention to fill it with moral suns.h.i.+ne. I am sure he 'll send a new sonnet if he has one, but I fancy his bardic day is over. I should think he was probably not subject to melancholy when he wrote the _Wayfarer_. However, he tells me that his spirits have improved in Italy. One other little book of Herrickian verse he has written, called _The Shepherd!s Garden_, but there are no sonnets in it. Besides this, he published a volume containing a record of travel of a very interesting kind, and called _The Pilgrimage of the Tiber_. This is well known. It is ill.u.s.trated, many of the drawings being by himself, for he is quite as much painter as poet. He also wrote in _The Quarterly Review_ an article on the sonnet (I should think about 1870 or so), and, a little later, one which raised great wrath, on the English School of Painting. These I have not seen. He "lacks advancement," however; having fertile powers and little opportunity, and being none the luckier (I think) for a small independence which keeps off _compulsion_ to work, though of willingness he has abundance in many directions.

There is an admirable but totally unknown living poet named Dixon. I will send you two small vols, of his which he gave me long ago, but please take good care of them, and return them as soon as done with. I value them highly. I forgot till to-day that he had written any sonnets, but I see there are three in one vol. and one in another. I have marked my two favourites. He should certainly be represented in your book. If I live, I mean to write something about him in some quarter when I can. His finest pa.s.sages are as fine as any living man can do. He was a canon of Carlisle Cathedral, and at present has a living somewhere. If you wanted to ask him for an original sonnet, you might mention my name, and address him at Carlisle with _Please forward_. Of course he is a Rev.

You will be sorry to hear that Davies has abandoned the hope of producing a new sonnet to his own satisfaction. I have again, however, urged him to the onslaught, and told him how deserving you are of his efforts.

Swinburne, who is a vast admirer of my sister's, thinks the _Advent_ perhaps the n.o.blest of all her poems, and also specially loves the _Pa.s.sing Away_. I do not know that I quite agree with your decided preference for the two sonnets of hers you signalise,--the _World_ is very fine, but the other, _Dead before Death_, a little sensational for her. I think _After Death_ one of her n.o.blest, and the one _After Communion_. In my own view, the greatest of all her poems is that on France after the siege--_To-Day for Me_. A very splendid piece of feminine ascetic pa.s.sion is _The Convent Threshold_.

I have run the sonnet you like, _St. Luke the Painter_, into a sequence with two more not yet printed, and given the three a general t.i.tle of _Old and New Art_, as well as special t.i.tles to each. I shall annex them to _The House of Life_.

Have you ever read Vaughan? He resembles Donne a good deal as to quaintness, but with a more emotional personality.

I have altered the last line of octave in _Lost Days_. It now runs--

"The undying throats of h.e.l.l, athirst alway."

I always had it in my mind to make a change here, as the _in_ standing in the line in its former reading clashed with _in_ occurring in the previous line. I have done what I think is a prime sonnet on the murdered Czar, which I enclose, but don't show it to a soul.

Theodore Watts is going to print a very fine sonnet of his own in _The Athenaeum_. It is the first verse he ever put in print, though he wrote much (when a very young man). Tell me how you like it. I think he is destined to s.h.i.+ne in that cla.s.s of poetry.

I knew you must like Watts's sonnets. They are splendid affairs. I am not sure that I agree with you in liking the first the better of the two: the second (_Natura Maligna_) is perhaps the deeper and finer. I have asked Watts to give you a new sonnet, and I think perhaps he will do so, or at all events give you permission to use those he has printed.

He has just come into the room, and says he would like to hear from you on the subject.

From one rather jocular sentence in your note I judge you may include some sonnets of your own. I see no possible reason why you should not. You are really now, at your highest, among our best sonnet-writers, and have written two or three sonnets that yield to few or none whatever. I am forced, however, to request that you will not put in the one referring to myself, from my constant bugbear of any appearance of collusion. That sonnet is a very fine one--my brother was showing it me again the other day. It is not my personal gratification alone, though that is deep, because I know you are sincere, which leads me to the conclusion that it is your best, and very fine indeed. I think your c.u.mberland sonnet admirable. The sonnet on Byron is extremely musical in flow and the symbolic scenery of exceptional excellence. The view taken is the question with me. Byron's vehement directness, at its best, is a lasting lesson: and, dubious monument as _Don Juan_ may be, it towers over the century. Of course there is truth in what you say; but _ought_ it to be the case? and is it the case in any absolute sense? You deal frankly with your sonnets, and do not shrink from radical change. I think that on Oliver much better than when I saw it before. The opening phrases of both octave and sestette are very fine; but the second quatrain and the second terzina, though with a quality of beauty, both seem somewhat to lack distinctness.

The word _rivers_ cannot be used with elision--the v is a hard pebble in the flow, and so are the closing consonants.

You must put up with _streams_ if you keep the line.

You should have Bailey's dedicatory sonnet in _Festus_.

I am enclosing a fine sonnet by William Bell Scott, which I wished him to let me send you for your book. It has not yet been printed. I think I heard of some little chaffy matter between him and you, but, doubtless, you have virtually forgotten all about it. I must say frankly that I think the day when you made the speech he told me of must have been rather a wool-gathering one with you.... I suppose you know that Scott has written a number of fine sonnets contained in his vol of _Poems_ published about 1875, I think.

I directed the attention of Mr. Waddington (whom, however, I don't know personally) to a most n.o.ble sonnet by f.a.n.n.y Kemble, beginning, "Art thou already weary of the way?" He has put it in, and several others of hers, but she is very unequal, and I don't know if the others should be there, but you should take the one in question. It sadly wants new punctuation, being vilely printed just as I first saw it when a boy in some twopenny edition.

In a memoir of Gilchrist, appended now by his widow to the _Life of Blake_, there is a sonnet by G., perhaps interesting enough, as being exceptional, for you to ask for it; but I don't advise you, if you don't think it worth.

I have received from Mrs. Meynell, a sister of Eliz.

Thompson, the painter, a most genuine little book of poems containing some sonnets of true spiritual beauty. I must send it you.

This book had just then been introduced to Rossetti with much warmth of praise by Mr. Watts, and he took to it vastly.

This closes Rossetti's interesting letters on sonnet literature. In reprinting his first volume of _Poems_ he had determined to remove the sonnets of _The House of Life_ to the new volume of _Ballads and Sonnets_, and fill the s.p.a.ce with the fragment of a poem written in youth, and now called _The Bride's Prelude_. He sent me a proof. The reader will remember that as a narrative fragment it is less remarkable for striking incident (though never failing of interest and picturesqueness) than for a slow and psychical development which ultimately gained a great hold of the sympathies. The poem leaves behind it a sense as of a sultry day. Judging first of its merits as a song (using the word in its broad and simple sense), the poem flows on the tongue with unbroken sweetness and with a variety of cadence and light and shade of melody which might admit of its pursuing its meanderings through five times its less than 50 pages, and still keeping one's senses awake to the constantly recurring advent of new and pleasing literary forms. The story is a striking one, with a great wealth of highly effective incident,--notably the episode of the card-playing, and of the father striking down the sword which Raoul turns against the breast of the bride. Almost equally memorable are the scenes in which the lover appears, and the occasional interludes of incident in which, between the pauses of the narrative, the bridegroom's retinue are heard sporting in the courtyard without.

The whole atmosphere of the poem is saturated in a medievalism of spirit to which no lapse of modernism does violence, and the spell of romance which comes with that atmosphere of the middle ages is never broken, but preserved in the minutest most matter-of-fact details, such as the bowl of water that stood amidst flowers, and in which the sister Amelotte "slid a cup" and offered it to Aloyse to drink. But the one great charm of the poem lies in its subtle and most powerful psychical a.n.a.lysis, seen foreshadowed in the first mention of the bride sitting in the shade, but first felt strongly when she begs her sister to pray, and again when she tells how, at G.o.d's hint, she had whispered something of the whole tale to her sister who slept

The dread introspection pictured after the sin is in the highest degree tragic, and affects one like remorse in its relentlessness, although less remorse than fear of discovery. The sickness of the following condition, with its yearnings, longings, dizziness, is very n.o.bly done, and delicate as is the theme, and demanding a touch of unerring strength, yet lightness, the part of the poem concerned with it contains certain of the most beautiful and stirring things. The madness (for it is not less than such) in which at the sea-side, believing Urscelyn to be lost, the bride tells the whole tale, whilst her curse laughed within her to see the amazement and anger of her brothers and of her father, is doubtless true enough to the frenzied state of her mind; but my sympathies go out less to that part of the poem than to the subsequent part, in which the bride-mother is described as leaning along in thought after her child, till tears, not like a wedded girl's, fall among her curls. Highly dramatic, too, is the pa.s.sage in which she fears to curse the evil men whose evil hands have taken her child, lest from evil lips the curse should be a blessing.

The characterisation seemed to be highly powerful, and, so far as it went, finely contrasted. I could almost have wished that the love for which the bride suffers so much had been more dwelt upon, and Urscelyn had been made somehow more worthy of such love and sacrifice. The only point in which the poem struck me, after mature reflection, as less admirable than certain others of the author's, lay in the circ.u.mstance that the narrative moves slowly, but, of course, it should be remembered that the poem is one of emotion, not incident. There are most magical flashes of imagery in the poem, notably in the pa.s.sage beginning

Her thought, long stagnant, stirred by speech, Gave her a sick recoil; As, dip thy fingers through the green That masks a pool, where they have been, The naked depth is black between.

Rossetti wrote a valuable letter on his scheme for the completion of _The Bride's Prelude_:

I was much pleased with your verdict on _The Bride's Prelude_. I think the poem is saved by its picturesqueness, but that otherwise the story up to the point reached is too purely repellent. I have the sequel quite clear in my mind, and in it the mere pa.s.sionate frailty of Aloyse's first love would be followed by a true and n.o.ble love, rendered calamitous by Urscelyn, who then (having become a powerful soldier of fortune) solicits the hand of Aloyse. Thus the horror which she expresses against him to her sister on the bridal morning would be fully justified. Of course, Aloyse would confess her fault to her second lover whose love would, nevertheless, endure. The poem would gain so greatly by this sequel that I suppose I must set to and finish it one day, old as it is. I suppose it would be doubled, but hardly more. I hate long poems.

I quite think the card-playing pa.s.sage the best thing--as a unit--in the poem: but your opinion encourages my own, that it fails nowhere of good material. It certainly moves slowly as you say, and this is quite against the rule I follow. But here was no life condensed in an episode; but a story which had necessarily to be told step by step, and a situation which had unavoidably to be anatomised. If it is not unworthy to appear with my best things, that is all I hope for it. You have pitched curiously upon some of my favourite touches, and very coincidently with Watts's views.

Early in 1881, he wrote:

I am writing a ballad on the death of James I. of Scots. It is already twice the length of _The White s.h.i.+p_, and has a good slice still to come. It is called _The King's Tragedy_, and is a ripper I can tell you!

The other day I got from Italy a paper containing a really excellent and exceptional notice of my poems, written by the author of a volume also sent me containing, among other translations from the English, _Jenny, Last Confession_, etc.

I have been re-reading, after many years, Keats's _Otho the Great_, and find it a much better thing than I remembered, though only a draft.

I am much exercised as to what you mention as to a _Michael Scott_ scheme of Coleridge's. Where does he speak of it, and what is it? It is quite new to me; but curiously enough, I have a complete scheme drawn up for a ballad, to be called _Michael Scott's Wooing_, not the one I proposed beginning now--and also have long designed a picture under the same t.i.tle, but of quite different motif! Allan Cunningham wrote a romance called _Sir Michael Scott_, but I never saw it.

I have heard from Walter Severn about a subscription proposed to erect a gravestone to his father beside that of Keats. I should like you to copy for me your sonnet on Severn. I hear it is in _The Athenaeum_, but have not seen it. I was asked to prepare an inscription, which I send you.

Nothing would be so good as Severn's own words.

I strongly urge you to go on with your book on the _Supernatural_. The closing chapter should, I think, be on the _weird_ element in its perfection, as shown by recent poets in the mess--i.e. those who take any lead. Tennyson has it certainly here and there in imagery, but there is no great success in the part it plays through his _Idylls_. The Old Romaunt beats him there. The strongest instance of this feeling in Tennyson that I remember is in a few lines of _The Palace of Art_:

And hollow b.r.e.a.s.t.s enclosing hearts of flame; And with dim-fretted foreheads all On corpses three months old at morn she came That stood against the wall.

I won't answer for the precise age of the corpses--perhaps I have staled them somewhat.

CHAPTER IX.

It is in the nature of these Recollections that they should be personal, and it can hardly occur to any reader to complain of them for being that which above all else they purport to be. I have hitherto, however, been conscious of a desire (made manifest to my own mind by the character of my selections from the letters written to me) to impart to this volume an interest as broad and general as may be. But my primary purpose is now, and has been from the first, to afford the best view at my command of Rossetti as a man; and more helpful to such purpose than any number of critical opinions, however interesting, have often been those pa.s.sages in his letters where the writer has got closest to his correspondent in revealing most of himself. In the chapter I am now about to write I must perforce set aside all limitations of reserve if I am to convey such an idea of Rossetti's last days as fills my mind; I must be content to speak almost exclusively of my personal relations to him, to the enforced neglect of the more intimate relations of others.

About six months after my first visit, Rossetti invited me to spend a week with him at his house, and this I was glad to be able to do. I found him in many important particulars a changed man. His complexion was brighter than before, and this circ.u.mstance taken alone might have been understood to indicate improved bodily health, but in actual fact it rather denoted in his case a retrograde physical tendency, as being indicative chiefly of some recent excess in the use of his pernicious drug. He was distinctly less inclined to corpulence, his eyes were less bright, and had more frequently than formerly the appearance of gazing upon vacancy, and when he walked to and fro in the studio, as it was his habit to do at intervals of about an hour, he did so with a more laboured sidelong motion than I had previously noticed, as though the body unconsciously lost and then regained some necessary control and command at almost every step. Half sensible, no doubt, of a reduced condition, or guessing perhaps the nature of my reflections from a certain uneasiness which it baffled my efforts to conceal, he paused for an instant one evening in the midst of these melancholy perambulations and asked me how he struck me as to health. More frankly than judiciously I answered promptly, Less well than formerly. It was a luckless remark, for Rossetti's prevailing wish at that moment was to conceal even from himself his lowered state, and the time was still to come when he should crave the questionable sympathy of those who said he looked even more ill than he felt. Just before this, my second visit, he had completed his _King's Tragedy_, and I had heard from his own lips how prostrate the emotional strain involved in the production of the poem had first left him. Casting himself now on the couch in an att.i.tude indicative of unusual exhaustion, he said the ballad had taken much out of him. "It was as though my life ebbed out with it," he said, and in saying so much of the nervous tension occasioned by the work in question he did not overstate the truth as it presented itself to other eyes.

Time after time while the ballad was in course of production, he had made effort to read it aloud to the friend to whose judgment his poetry was always submitted, but had as frequently failed to do so from the physical impossibility of restraining the tears that at every stage welled up out of an overwrought nature, for the poet never existed perhaps who, while at work, lived so vividly in the imagined situation.